Apparatus and method for stringed musical instrument tailpiece

ABSTRACT

A stringed instrument tailpiece includes an elongate body that is top/bottom and left/right symmetrical. Openings are formed at a bridge-end of the elongate body to engage a musical instrument&#39;s one or more strings. An opening at the gut-end of the elongate body is configured to engage a gut, which attaches to an instrument endpin.

BACKGROUND

Inventive concepts relate generally to an apparatus and method for astringed instrument tailpiece. In particular, inventive concepts relateto an apparatus and method for a stringed instrument tailpiece throughwhich instrument strings that may be bowed or plucked may be terminatedin the instrument's endpin.

The violin family of stringed musical instruments, including the violin,viola, and cello, was first developed in Italy in the early 1500s. Thegeneral design of such instruments was refined in the 1600s by suchwell-known makers as the Amati family and Antonio Stradivari. Thatdesign survives substantially intact to this day, with relatively minormodifications, for example, to the length and tilt of the fingerboardand to the length of the neck, for example. There is some debate as towhether the double bass is derived from the viol or is a member of theviolin family. The double bass's proportions are unlike those of theviolin and cello, for example, in that it is proportionately much deeperthan a violin and it shoulders are much more sloping than those of theviolin. This yields an external appearance more like that of the violada gamba, but the internal construction of the double bass is nearlyidentical to that of instruments of the violin family. In any case, allthese stringed musical instruments, and more, employ a tailpiece. Animproved tailpiece in accordance with principles of inventive conceptsmay be employed to advantage with any stringed musical instrument,whether in the violin family or not, that requires a tailpiece.

The general construction of a violin family instrument will now bedescribed in reference to the perspective view of a conventional violinof FIG. 1. As previously noted, an apparatus and method in accordancewith principles of inventive concepts may be used in conjunction withany stringed musical instrument that employs a tailpiece, whether in theviolin family or not. Although example embodiments may be described inreference to violin family instruments, inventive concepts are notlimited thereto.

An example of a conventional stringed instrument employing a tailpieceis illustrated in FIG. 1. Although this illustration may apply to anyinstrument of the violin family of stringed musical instrument, such asviolin, viola, cello or double bass, for clarity and conciseness ofdescription, the instrument will be referred to hereinafter, simply, asa violin. Additionally, as noted above, inventive concepts may beapplied to any stringed musical instrument that employs a tailpiece.

The violin 100 includes a hollow body 110, neck 120, strings 130, atailpiece 140 to which ends of strings 130 are fastened, and bridge 150for transmitting the vibration of the strings 130 to the body 110. Thetailpiece 140 attaches, at the opposite end to which the strings areattached, to endpin 118. The term “endpin” is used herein to refer tothe element of a stringed instrument, referred to in the violin familyof stringed instruments as either an endpin or button and, generally,refers to an element that attaches a gut-end of a tailpiece to the bodyof the instrument. The body 110 includes an upper plate 112 in whichf-shaped holes 124 are formed and a lower plate 114. Side plate 116connects the upper plate 112 and lower plate 114 to form a hollowresonant body.

Four spaced-apart strings 130 are tensioned on the upper plate of thebody 110. The ends of the strings 130 opposite the ends attached to thetailpiece 140 are wound to the pegs 122. Four string holes 142 areformed in the tailpiece and the ends of strings 130 are inserted intothese holes and fastened to the tailpiece through the holes. Tailgut126, traditionally formed of gut cord, are wrapped around endpin 118,with one “leg” (that is, strand, length, cord, cable, etc.) on eitherside of endpin and both legs returning to tailpiece 140 to be fixed tothe tailpiece, thereby fastening the tailpiece 140 to the body 110.Vibrations generated in the strings 130, by plucking or bowing, forexample, may be transmitted by the bridge 150 to the resonant body 110for amplification.

SUMMARY OF THE INVENTION

In example embodiments in accordance with principles of inventiveconcepts a musical instrument tailpiece includes an elongate body thatis top/bottom and left/right symmetrical, openings formed at abridge-end of the elongate body to engage a musical instrument's one ormore strings and an opening at the gut-end of the elongate body toengage a gut.

In example embodiments a tailpiece includes a single-leg gut.

In example embodiments the mass of the elongate body is evenlydistributed above and below a plane substantially defined by locationscorresponding to the centers of a plurality of instrument string-endsexiting the elongate body through openings at the bridge end and theopening at the gut-end of the elongate body.

In example embodiments openings formed at the bridge-end of a tailpieceare enclosed holes.

In example embodiments openings formed at the bridge-end of a tailpieceare slots.

In example embodiments the separation of the outermost openings on thebridge end of the tailpiece is less than the separation of thecorresponding slots, or grooves, on an associated instrument bridge.

In example embodiments the elongate body of a tailpieces comprises anatural material.

In example embodiments the elongate body of a tailpiece is comprises awood.

In example embodiments the elongate body of a tailpiece comprises ametal.

In example embodiments the elongate body comprises a synthetic material.

In example embodiments the elongate body comprises a carbon fibermaterial.

In example embodiments the opening at the gut-end of the tailpiece issized to accommodate no more than one gut-end leg.

In example embodiments a musical instrument tailpiece includes anelongate body that is top/bottom and left/right symmetrical,slot-openings formed at a bridge-end of the elongate body to engage amusical instrument's one or more strings, the slot-openings spacedequidistant apart and substantially along a line that bisects the topand bottom of the elongate body, and an opening at the gut-end of theelongate body to engage a gut.

In example embodiments the length of the elongate body is determined bya proximity to an associated instrument's saddle on one end and thedistance from an associated instrument's bridge, the bridge to tailpiecedistance determined by a rule of eighteen determination and the saddleto tailpiece distance within a range of from one eighth to two inches.

In example embodiments the saddle to tailpiece distance of a tailpieceis within a range of from one half to one inch.

In example embodiments, the tailpiece is a compensating tailpiece.

BRIEF DESCRIPTION OF THE DRAWINGS

Example embodiments in accordance with principles of inventive conceptswill be more clearly understood from the following detailed descriptiontaken in conjunction with the accompanying drawings in which:

FIG. 1 is perspective view of a conventional violin family stringedinstrument;

FIG. 2 is a plan view of an example embodiment of a tailpiece inaccordance with principles of inventive concepts in place on a violinfamily stringed instrument;

FIGS. 3A, 3B, and 3C are bottom, side and top views of an exampleembodiment of a violin family tailpiece in accordance with principles ofinventive concepts;

FIG. 4 is a perspective view of an example embodiment of a tailpiece inaccordance with principles of inventive concepts;

FIG. 5 is a bottom view of an example embodiment of a tailpiece/gutcombination in accordance with principles of inventive concepts;

FIGS. 6A, 6B, and 6C are bridge-end, gut-end and perspective views of anexample embodiment of a tailpiece in accordance with principles ofinventive concepts; and

FIG. 7 is a perspective view of an example embodiment of a tailpiece inaccordance with principles of inventive concepts, with a single-leg gutengage between the tailpiece and an instrument's endpin.

DETAILED DESCRIPTION

Example embodiments in accordance with principles of inventive conceptswill now be described more fully with reference to the accompanyingdrawings, in which example embodiments are shown. Example embodiments inaccordance with principles of inventive concepts may, however, beembodied in many different forms and should not be construed as beinglimited to the embodiments set forth herein; rather, these embodimentsare provided so that this disclosure will be thorough and complete, andwill fully convey the concept of example embodiments to those ofordinary skill in the art. Like reference numerals in the drawingsdenote like elements, and thus their description may not be repeated.Example embodiments of systems and methods in accordance with principlesof inventive concepts will be described in reference to the accompanyingdrawings and, although the phrase “example embodiments in accordancewith principles of inventive concepts” may be used occasionally, forclarity and brevity of discussion example embodiments may also bereferred to as “Applicants' system,” “the system,” “Applicants' method,”“the method,” or, simply, as a named component or element of a system ormethod, with the understanding that all are merely example embodimentsof inventive concepts in accordance with principles of inventiveconcepts.

It will be understood that when an element is referred to as being“connected” or “coupled” to another element, it can be directlyconnected or coupled to the other element or intervening elements may bepresent. In contrast, when an element is referred to as being “directlyconnected” or “directly coupled” to another element, there are nointervening elements present. As used herein the term “or” includes anyand all combinations of one or more of the associated listed items.Other words used to describe the relationship between elements should beinterpreted in a like fashion (for example, “between” versus “directlybetween,” “adjacent” versus “directly adjacent,” “on” versus “directlyon”). The word “or” is used in an inclusive sense, unless otherwiseindicated.

It will be understood that, although the terms “first”, “second”, etc.may be used herein to describe various elements, components, regions,layers or sections, these elements, components, regions, layers orsections should not be limited by these terms. These terms are only usedto distinguish one element, component, region, step, layer or sectionfrom another element, component, region, step, layer or section. Thus, afirst element, component, region, step, layer or section discussed belowcould be termed a second element, component, region, step, layer orsection without departing from the teachings of example embodiments.

Spatially relative terms, such as “beneath,” “below,” “lower,” “above,”“upper,” “top,” “bottom,” and the like, may be used herein for ease ofdescription to describe one element or feature's relationship to anotherelement(s) or feature(s) as illustrated in the figures. It will beunderstood that the spatially relative terms are intended to encompassdifferent orientations of the device in use or operation in addition tothe orientation depicted in the figures. For example, if an element inthe figures is turned over, elements described as “bottom,” “below,”“lower,” or “beneath” other elements or features would then be oriented“atop,” or “above,” the other elements or features. Thus, the exampleterms “bottom,” or “below” can encompass both an orientation of aboveand below, top and bottom. The device may be otherwise oriented (rotated90 degrees or at other orientations) and the spatially relativedescriptors used herein interpreted accordingly.

The terminology used herein is for the purpose of describing particularembodiments only and is not intended to be limiting of exampleembodiments. As used herein, the singular forms “a,” “an” and “the” areintended to include the plural forms as well, unless the context clearlyindicates otherwise. It will be further understood that the terms“comprises”, “comprising”, “includes” or “including,” if used herein,specify the presence of stated features, integers, steps, operations,elements or components, but do not preclude the presence or addition ofone or more other features, integers, steps, operations, elements,components or groups thereof. The word “or” is used in an inclusivesense to mean both “or” and “and/or.” The term “exclusive or” will beused to indicate that only one thing or another, not both, is beingreferred to.

Unless otherwise defined, all terms (including technical and scientificterms) used herein have the same meaning as commonly understood by oneof ordinary skill in the art to which example embodiments in accordancewith principles of inventive concepts belong. It will be furtherunderstood that terms, such as those defined in commonly-useddictionaries, should be interpreted as having a meaning that isconsistent with their meaning in the context of the relevant art andwill not be interpreted in an idealized or overly formal sense unlessexpressly so defined herein.

For clarity and brevity of description, inventive concepts may bedescribed in terms of example embodiments related to a violin; otherstringed musical instruments that employ a tailpiece, such as the doublebass, viola, cello, and guitar, are contemplated within the scope ofinventive concepts.

The terms first, second, third, etc. may be used herein to describevarious elements, components, regions, layers or sections. Theseelements, components, regions, layers or sections should not be limitedby these terms. These terms may be only used to distinguish one element,component, region, step, layer or section from another region, step,layer or section. Terms such as “first,” “second,” and other numericalterms do not imply a sequence or order unless clearly indicated by thecontext. Thus, a first element, component, region, step, layer orsection discussed below could be termed a second element, component,region, step, layer or section without departing from the teachings ofthe example configurations.

In example embodiments in accordance with principles of inventiveconcepts, an apparatus and method in accordance with principles ofinventive concepts may join the strings of a stringed musical instrumentto the instrument's endpin, a plug (used, for example, on Pollman doublebasses), or to otherwise attach the strings to the instrument's body.

An example embodiment of an apparatus and method for a stringed musicalinstrument tailpiece is depicted in the plan view of FIG. 2, in whichexample embodiment of a tailpiece 200 in accordance with principles ofinventive concepts operationally attaches strings 130 of a violin familyinstrument 100 through tailgut 202, which crosses saddle 201, to endpin118. Bridge 150, side plate 116 and f hole 124 are as previouslydescribed. As will be described in greater detail in the discussionrelated to FIG. 3A through FIG. 4, in example embodiments the overallcontours of tailpiece 200 may be symmetrical about planes that bisectthe tailpiece horizontally and vertically. String-holes, or slots, andother openings, or cavities, such as for housing the instrumentsstring-ends or tailgut ends may not be laid out symmetrically. In someembodiments, such as compensating tailpiece embodiments, symmetry may bein only one plane, such as a horizontal plane. In example embodiments atailgut that attaches the tailpiece to the instrument's endpin mayemploy a single-leg configuration, as opposed to the conventionaldual-leg configuration described above in the discussion related toFIG. 1. That is, a single-leg gut configuration crosses the instrumenttop, across a saddle for example, with only one leg, as opposed to thetraditional two legs. As previously noted, tailgut 202 may engage withendpin 118 or any other securing member associated with violin 100 (aviolin “button,” for example) in order to secure strings 130 to theresonant body 110 of violin 100. Not wishing to be bound by theory, itis the Applicants' belief that any one of, or any combination of, thesymmetry of the tailpiece, the single-leg configuration of the tailgut,and the mid-face egress of the strings from the bridge-end of thetailpiece and mid-face egress of the gut from the gut-end of thetailpiece, by providing more freedom of movement than conventionaltailpieces and tailgut combinations, enhances the resonance, sustain,tone, response and playability of the instrument. With strings emergingmid-face and the gut emerging mid-face, tension may be transferredsubstantially in-line from the bridge, through the tailpiece and on tothe saddle and end-pin relatively kink-of binding-free, therebysubstantially eliminating or parasitic movement of the tailpiece thatmay diminish sound quality and volume.

A wolf tone, or “wolf,” is a sympathetic artificial overtone thatamplifies and expands the frequencies of a played musical note. The wolfis produced when the played note matches the resonant frequency of theviolin family instrument being played. Wolfs are undesirable and playersemploy various apparatus, referred to as wolf tone eliminators toreduce, as much as possible, the effects of a wolf. Wolf eliminators,essentially attenuators, are typically attached to an offending stringbetween the bridge and tailpiece of the instrument. It has beenApplicant's experience that wolfs are considerably diminished by use ofhis novel tailpiece and that, for those wolfs that are not entirelyeliminated, a player may “play around” or otherwise compensate for thewolf more readily. Additionally, the sound produced by the instrumentappears to be substantially fuller and richer than that produced with aconventional tailpiece.

In example embodiments a violin family tailpiece may be configured toconduct the tensile forces exerted upon the instrument's strings in asubstantially linear fashion, across the bridge, through the tailpiece,through the gut, and over the saddle. That is, whether in a through-holeembodiment or a slot embodiment the instrument strings emerge from thebridge-end of the tailpiece substantially in the middle of the tailpiece(middle relative to the plane that bisects the tailpiece in thetop/bottom direction) and similarly, the gut emerges from the gut-end ofthe tailpiece substantially in the middle of the tailpiece. In suchembodiments tension is transferred, without skewing or kinkingassociated with conventional tailpiece arrangements where, for example,strings are routed over the top of the tailpiece. Not wishing to bebound by theory, although the kink, discontinuity, or flow-disruptionassociated with a conventional tailpiece string termination may appearto be minor, it is Applicant's belief that the interruption-freestraight-line path from bridge, through the tailpiece and on to thesaddle provided by Applicant's example embodiments may contribute to thegreater responsiveness, improved playability, greater sustain, andfuller sound yielded through use of his novel tailpiece. The use of asingle-leg gut in accordance with principles of inventive concepts maysimilarly contribute to such positive attributes.

Any suitable material, including the traditional ebony wood, may be usedto construct a tailpiece in accordance with principles of inventiveconcepts. The use of natural materials, including all variety of wood;metals; or synthetic materials, such as carbon fiber, are contemplatedwithin the scope of inventive concepts. Applicant has found that lightermaterials may provide greater response than heavier materials. Forexample, a carbon fiber embodiment may provide greater responsivenessthan an ebony embodiment of the same dimension.

FIGS. 3A, 3B, and 3C are, respectively, bottom, side, and top views ofan example embodiment of a tailpiece in accordance with principles ofinventive concepts. Tailpiece 200 is an elongate apparatus that is, inits overall outline, substantially symmetric about a plane perpendicularto the plane of the page (“coming out” of the page of FIG. 3A) anddelineated in the figure by points A and A′ in FIG. 4. Tailpiece 200 isalso substantially symmetric about the plane of the page in FIG. 3A, andabout a plane perpendicular to the page (“coming out” of the page ofFIG. 3A), marked by point B and B′ in FIG. 4. Points A and A′ may bereferred to herein as defining a primary, left/right axis and points Band B′ may be referred to herein as defining a secondary, top/bottomaxis, with “top” referring to the side of a tailpiece positionedopposite the top side of the instrument and “bottom” facing theinstrument, and “left” being the left side of the tailpiece as viewedwhen viewing the front of the instrument (with tailpiece in place). Inexample embodiments, the mass of a tailpiece in accordance withprinciples of inventive concepts may be evenly distributed above andbelow the primary axis and to the left and to the right of the secondaryaxis. In example embodiments, the top/bottom and left/right symmetry ofthe tailpiece and positioning of string holes and gut hole substantiallywithin the same plane (with the exception of slight out-of-planeplacements for string holes that reflect or mirror bridge arcs in someembodiments) provides such even mass distribution.

The bottom plan view of FIG. 3A includes openings 220, which areconfigured to receive and hold string-ends that, typically, includeball-ends to hold the string ends in place under tension. Other methodsof holding the string ends in place within openings 220, such as loops,are contemplated within the scope of inventive concepts. Recess 222formed in the distal end (the end away from strings 130 and towardendpin 118) is configured to accept one end of tailgut 202 and to retainthat tailgut end therein. Tailgut through-hole 224 (depicted in brokenlines) provides a channel for the tailgut 126 from recess 222 to endpin118 or other attachment member located on violin body 110. Similarly,string through-holes 226 (depicted in broken lines) provide channels forviolin strings from openings 220 toward the violin bridge 150, neck 120,etc. In this example embodiment, string cavities 220 penetrate theentire thickness of tailpiece 200 and are visible in the top plan viewof FIG. 3C. In example embodiments one end of tailgut 126 may bethreaded through tailgut through-hole 224 and crimped or otherwiseconfigured (for example, expanded as with a toggle bolt or otherexpansion mechanism). The opposite end of the tailgut may be loopedaround the violin attachment member (endpin 118, for example) andcrimped back on itself for attachment to the violin attachment member.In example embodiments, a tailgut may be pre-formed with an expansionend for insertion into tailgut through hole 224 and with a single legterminated in a loop for attachment around the violin attachment member.

Other embodiments are contemplated within the scope of inventiveconcepts. For example, a tailgut may be formed sans loop, and threadedand attached through the instrument endpin. Some violin familyinstruments, notably the double bass, come in a variety of sizes andshapes. That is, although violins are of a substantially standard sizeand shape, double basses vary considerably and may be of a certain sizeto accommodate a larger or smaller player, for example. The proportionof the bass components may vary from instrument to instrument as well,with some double basses having larger lower bouts than others.Nevertheless, bass tailpieces are typically selected from among a fewsize options, with ¾ size tailpiece being approximately 13.5 inches inlength. As a result, several inches of the gut extending from thetailpiece to the saddle may be exposed.

In example embodiments in accordance with principles of inventiveconcepts, a bass tailpiece may be of a length that accommodates thedistance between an individual bass bridge and saddle: custom fit, thatis, for the length. The distance from the bridge to the bridge-end ofthe tailpiece may be configured according to a method such as “the ruleof 18,” which is known in the art. For a double bass, the distancebetween bridge and tailpiece may be set such that the “E” string istuned to “A” at the bridge-end of the tailpiece, in general, thedistance is set such that the lowest string is tuned to the next higheropen string. In example embodiments, a tailpiece may extendsubstantially from the tuned distance near the bridge to within a shortrange of the saddle. The tailpiece is configured such that it is not solong as to contact the instrument top while playing, yet near enough tothe saddle that only a relatively short length of gut extends from thegut-end of the tailpiece to the saddle. In example embodiments thatexposed length of gut may be less than two inches; in some embodimentsthat length is less than one inch; in some embodiments that length isless than one half inch.

The perspective view of FIG. 4 illustrates elements of exampleembodiments of a tailpiece 200 in accordance with principles ofinventive concepts. String through-holes 226 receive strings, which arefixed at the tailpiece end within string cavities 220 using, forexample, a string ball-end. String cavities may be through and throughthe tailpiece or may, as denoted by the broken line of this figure, onlypartially penetrate tailpiece 200. In this example embodiment fourstring cavities 220 associated with four string through-holes 226accommodate four strings of a stringed musical instrument. In exampleembodiments a tailpiece in accordance with principles of inventiveconcepts may accommodate five strings, with additional stringthrough-hole 226B and string cavity 220B placed to maintain symmetry. Inexample embodiments, one or more grooves, or slots, 227 may be formed intailpiece 200 to facilitate rapid insertion or removal of a string. Forexample, a bassist may wish to switch from a four-string to afive-string configuration (or vice versa) by adding a string to (orremoving a string from) string hole 226B. Slot 227 allows the bassist toeasily slip the string in (or out), without requiring the threading ofthe string through string through hole 226B. In example embodiments anyor all of the string through-holes 226 may have a slot 227 associatedwith them to allow easy addition or removal of a string. In exampleslotted embodiments a tailpiece may not include through-holes 226 andmay be configured with a slot 227 and cavity 220 B to receive and engagea string and associated ball-end, respectively. Such embodiments aredescribed in greater detail in the discussion related to FIGS. 6Athrough 6C.

The bottom plan view of FIG. 5 illustrates a tailpiece 200 in accordancewith principles of inventive concepts engaged with a single-leg tailgut202 in accordance with principles of inventive concepts. In this exampleembodiment. In this example embodiment, tailgut 202 includes a loop 202b and single leg 202 a with a tailpiece end 202 c terminated withinrecess 222. As previously indicated, the single leg 202 a crosses theinstrument top, for example, across a saddle, and engages the gut-end ofthe tailgut through an opening in the gut-end. In example embodiments,loop 202 b engages the instrument endpin (or button) on the other endand the loop engages exclusively with the endpin; no portion of the loopextends far enough to contact the instrument body and only a single leg202 a contacts the instrument through a saddle, for example, asillustrated in greater detail in the perspective view of FIG. 7.

Elements of a slotted, through-hole free, example embodiment of atailpiece in accordance with principles of inventive concepts will nowbe described in the discussion related to FIGS. 6A through 6C. FIG. 6Ais a view of an example embodiment, viewing the bridge end of thetailpiece end-on; FIG. 6B is a view of an example embodiment, viewingthe gut end of the tailpiece end-on; and FIG. 6C is a perspective viewillustrating the positioning of string with ball end 131 in a slot of atailpiece in accordance with principles of inventive concepts.

In an example embodiment of FIG. 6A, slots 222 are arranged so thatstrings emerging from them are situated substantially in the middle ofthe tailpiece 200 in the “X” direction. In this example embodiment thethickness of the tailpiece varies from ¼ inch at edge thicknesses T1 to⅞ inch at middle thickness T2. In an example embodiment, the width W1 atthe bridge-end is 3 1/16 inches. These dimension values are given purelyas examples and may vary greatly in accordance with principles ofinventive concepts. Although slots 222 are shown in-line, they may bearranged with a slight arc to either reflect or mirror the arc of anassociated instrument bridge. It should be noted that, in thisillustration, the slots are open in the positive “X” direction and, inpractice, the slots may be positioned so that they open either toward oraway from the instrument, for aesthetic reasons, the slots maybe opentoward the instrument in order to hide the string ball-ends from view.

In an example embodiment of FIG. 6B, gut through-hole 224 is positionedin the center of the tailpiece gut-end. In this example embodiment thethickness of the tailpiece varies from ½ inch at edge thicknesses T3 to⅞ inch at middle thickness T4. In an example embodiment, the width W2 atthe gut-end is 1⅞ inches. These dimension values are given purely asexamples and may vary greatly in accordance with principles of inventiveconcepts.

The perspective view of FIG. 6C provides an illustration of a ball 131and associated string 130 positioned within cavity 220B and slot 227,respectively. Some violin family instruments employ “finer tuners” thatare constructed and arranged to allow for the fine tuning of stringsbetween a tailpiece and bridge. A fine tuner in accordance withprinciples of inventive concepts for use with a slotted embodiment (thatis, a tailpiece with cavities for receipt of ball-ends, but nothrough-holes) may include a mechanism for engagement with a cavity 220Bat one end and a mechanism for engagement with an adjuster at anotherend. The adjuster, such as a turnbuckle, for example, may be situatedbetween a string (with ball-end or loop) and engaged with slot227/cavity 220B combination on the other end.

The perspective view of FIG. 7 illustrates an example embodiment of atailpiece 200 in accordance with principles of inventive concepts with asingle-leg 202 a gut looped around endpin 118 traveling across saddle201 and engaged with tailpiece 200 at its gut end. As is evident fromthis illustrative embodiment, single-leg gut 202 a only makes contactwith the instrument top through saddle 201 and only through a single leg(as opposed to conventional two-leg tailgut 126 as illustrated in FIG.1.

While the present inventive concepts have been particularly shown anddescribed above with reference to example embodiments thereof, it willbe understood by those of ordinary skill in the art, that variouschanges in form and detail can be made without departing from the spiritand scope of inventive concepts as defined by the following claims.

What is claimed is:
 1. A musical instrument tailpiece, comprising: anelongate body that is top/bottom and left/right symmetrical; openingsformed at a bridge-end of the elongate body to engage a musicalinstrument's one or more strings; and an opening at the gut-end of theelongate body to engage a gut.
 2. The tailpiece of claim 1, furthercomprising a single-leg gut.
 3. The tailpiece of claim 1, wherein themass of the elongate body is evenly distributed above and below a planesubstantially defined by locations corresponding to the centers of aplurality of instrument string-ends exiting the elongate body throughopenings at the bridge end and the opening at the gut-end of theelongate body.
 4. The musical instrument tailpiece of claim 1, whereinthe openings formed at the bridge-end are enclosed holes.
 5. The musicalinstrument tailpiece of claim 1, wherein the openings formed at thebridge-end are slots.
 6. The musical instrument tailpiece of claim 1,wherein the separation of the outermost openings on the bridge end isless than the separation of the corresponding slots on an associatedinstrument bridge.
 7. The musical instrument tailpiece of claim 1,wherein the elongate body comprises a natural material.
 8. The musicalinstrument tailpiece of claim 7, wherein the natural material is wood.9. The musical instrument tailpiece of claim 7, wherein the naturalmaterial is a metal.
 10. The musical instrument tailpiece of claim 1,wherein the elongate body comprises a synthetic material.
 11. Themusical instrument tailpiece of claim 10, wherein the elongate bodycomprises a carbon fiber.
 12. The musical instrument tailpiece of claim1, wherein the opening at the gut-end of the tailpiece is sized toaccommodate no more than one gut-end leg.
 13. A musical instrumenttailpiece, comprising: an elongate body that is top/bottom andleft/right symmetrical; slot-openings formed at a bridge-end of theelongate body to engage a musical instrument's one or more strings, theslot-openings spaced equidistant apart and substantially along a linethat bisects the top and bottom of the elongate body; and an opening atthe gut-end of the elongate body to engage a gut.
 14. The musicalinstrument tailpiece of claim 13, wherein the length of the elongatebody is determined by a proximity to an associated instrument's saddleon one end and the distance from an associated instrument's bridge, thebridge to tailpiece distance determined by a rule of eighteendetermination and the saddle to tailpiece distance within a range offrom one eighth to two inches.
 15. The musical instrument tailpiece ofclaim 14, wherein the saddle to tailpiece distance is within a range offrom one half to one inch.
 16. A stringed musical instrument,comprising: a tailpiece including: an elongate body that is top/bottomand left/right symmetrical; slot-openings formed at a bridge-end of theelongate body to engage a musical instrument's one or more strings, theslot-openings spaced equidistant apart and substantially along a linethat bisects the top and bottom of the elongate body; and an opening atthe gut-end of the elongate body to engage a gut; and a single-leg gutconnecting the gut-end of the elongate body to an endpin of the stringedmusical instrument.